renewed refreshed - Resolution Magazine · Mike Oldfield, James Brown, Frank Turner and Tony Iommi...
Transcript of renewed refreshed - Resolution Magazine · Mike Oldfield, James Brown, Frank Turner and Tony Iommi...
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V17.1|January/February 2018|5.50
REPORT/ Net neutrality: youre go
nna pay
/ Disney-Fox: what next for Sky News?
/ Audio preservation: so long to a silent past
REVIEWS/ Ambeo VR: Sennheiser g
ets real
/ Aurora(n): Lynx lights it up
/ Hi-Res C-100 gets high praise for Sony
REVEALED/ Shivoham The Quest:
4 continents, 9 studios, 200 players
/ Abbey Road: Mixing Hollywood blockbusters
NEWLOOK
The
Interview
Thomas Dolby
Resolution V17.1 Jan-Feb 2018.indd 1
15/01/2018 14:33
renewed refreshed
MEDIA PACK|2018
Best pro-audio mag in the fieldEC, Netherlands
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MEDIA PACK|2018HELLO
In 2018, Resolution will be reinvigorated with new opportunities for editorial and marketing, in print and online
Key strengths of Resolution
For over 15 years, Resolution has been the discerning pro-audio practitioners magazine of choice because it is unique. No other magazine reads like Resolution, or looks like Resolution. The editorial team has consistently created the agenda editorially and set the bar for quality.
Resolution, printed eight times a year, is trusted, read from cover-to-cover, and retains its shelf-life for months after publication.
In mid-2017, a new publisher acquired Resolution, seeing it as a fantastic opportunity to build on the titles legacy: to improve and update it, both in print and with its associated digital offerings, while respecting the incredible heritage and loyal following that had gone before.
Hence, 2018 will see a refreshed and renewed Resolution launched into the high-end pro-audio marketplace. The logo is the same but a little different and we have a clearer and sharper presentation style while offering the same level of technical expertise and insight, cutting-edge features and reports, and dynamic articles which will
entertain and inform. Well be extending to the coverage of trends and business issues directly affecting industry professionals. Plus, there will be a few new voices added to the trusted editorial message you enjoy and respect.
In addition, we shall be rejuvenating the look and feel of the newsletter (sent to our database of 20,000 Resolution readers TWICE A MONTH from January) and offering other digital opportunities alongside the print presence.
AND in April, for the first time, we shall be introducing an entirely digital NINTH issue which will be sent to the entire database, covering events and launches from NAB and Prolight + Sound. Ahead of this there will be a pro-audio@frankfurt in the March issue. Well be revealing more about all this early in 2018!
Resolution has enjoyed a superb reputation in more than 80 countries for many years. Now 2018 offers a tremendous opportunity for advertisers to capitalise on its reinvigorated presence. Come with us.
HELLO
Hello there! You might know me from Pro Sound News Europe/PSNEurope, where I served as editor for some yes! 16 years. Im investing heavily in the future of this title, both in print and online. Cleaner layout, smarter design, greater impact: an update and an upgrade, if you will. AND a huge opportunity to forge new partnerships. The new Resolution is soon to be the ONLY reference for the high-end pro-audio practitioner for 2018 and beyond. And if you think otherwise, Id like to read about it Dave Robinson, publisher/[email protected]
Resolution Awards & Creative Awards 2017 The prestigious Resolution Awards recognise quality and innovation in professional audio equipment. Products are nominated in categories by a panel of experts across disciplines and are voted for exclusively by the readership of Resolution magazine.
The Resolution Creative Awards recognise the achievements of individuals in music recording, broadcast and post. Nominations are, again, drawn up by a panel of experts across disciplines and are voted for exclusively by the readership of Resolution magazine.
Nominees and winners always receive strong editorial support. Nominations are announced in the JUNE issue and the winners announced in OCTOBER. Winners achieve the accolade of inclusion in the Resolution Awards Winners Supplement in the October issue.
Editorial with muscleWriting that is read, rated and retained by the readership. We cover the broadcast, post, music, recording and multimedia production sectors, providing analysis, technology profiles, interviews, reviews, news and opinion.
International distribution Distributed to 80 countries!
Targeting the professionals who need to know Reaching the markets of Europe, the Middle East, South America and the USA. Bolstering the education readership and encouraging new talent.
Broadcast audio? Look no further The definitive route to broadcast sound practitioners. In September, only Resolution is dedicated to putting audio in focus at the biggest broadcast convention with:
The NINTH issue!All digital. To the entire Resolution community in April. Coverage of the pro-audio and important MI happenings in Frankfurt for the first time!
For the pros, by the pros
AWARDS
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MEDIA PACK|2018THE TEAM
Editorial you can trust
Nigel Jopson, Resolution editor, heads up a team of highly-regarded writers and commentators, consistently creating an outstanding editorial mix every issue. Resolution writers have amassed a unique perspective and depth of product experience over the years in the recording studio, in broadcast, in post-production so we can always pair the right reviewer with the most appropriate piece of kit.
Resolution is targeted at people who buy and use your equipment for a living. It satisfies the information requirement of modern practitioners with a uniquely focused package of content. News and
analysis cover industry sales, contracts and appointments with a few surprises planned for 2018(!). The products section serves up a slice of current equipment releases and updates.
Sections you can expect to see in the 2017 redesign:Craft Craft articles concern themselves with the how to aspect of what readers do for a living. Our approach is unrivalled among the pro-audio press. Reviews The Resolution reviewers have amassed a wealth of experience that is unmatched anywhere in the industry. Business Resolution will run, and extend, its regular business articles that highlight trends and emphasise the need
to take care of business if you want to stay in business. Technology Resolution is ahead of the pack in its approach to new and existing technologies: we explain them, demystify them and place them in the context of developments that are shaping the business. Broadcast We remain a definitive route to broadcast sound practitioners!
We continue to support audio at the IBC exhibition with our Audio@IBC concept, which appears as a printed supplement in the September issue of Resolution as well as being distributed digitally to our newsletter database and via our website.
Mike AitonMike Aiton was weaned at the BBC over 30 years ago. He is mainly found in his Twickenham dubbing suite,
Mikerophonics, thrashing gear to within an inch of its life. In his spare time he takes therapy for his poor jazz guitar playing and his addiction to skiing and Nikon lenses.
Dennis BaxterA multi Emmy Award-winner, Dennis has worked in the broadcast industry for over 30 years as a sound designer
and sound mixer. He has engineered the sound for the Commonwealth Games, World Cup, NASCAR, and hundreds of other sporting events around the world including the Atlanta, Sydney, Salt Lake, Athens, Beijing, Vancouver and London Games.
John BroomhallJohn has worked in a variety of roles (composer, sound designer, producer, music supervisor and head of
audio) on dozens of videogames including F1 GP, Guitar Hero, American Idol, and Forza Motorsport.
Simon ClarkSimon Clark is a freelance location drama recordist and head of location sound recording at the National
Film & TV School in the UK.
Russell CottierRussell is a record producer and mixer as well as a pro-audio journalist. Hes
worked with chart-topping and award-winning acts including the Royal Philharmonic Orchestra and Sly & Robbie. Russell is primarily based at Parr Street Studios, Liverpool, UK but works at many other facilities.
Dan DaleyDan hit song composer and a former pedal-steel punk, recording studio owner and engineer lives
in New York City and Nashville, rendering him culturally enriched but politically conflicted.
Gijs FriesenGijs is a sound engineer & sound designer with an (online) audio post production studio. He works
as a broadcast music engineer for all major Dutch radio stations, and has mixed for artists like Jason Mraz, Jess Glynne and Joss Stone.
Kevin HiltonKevin trained as a radio journalist and worked in reporting, technical operations, production and
presentation before becoming a magazine writer. He writes extensively about broadcasting and audio production for a variety of publications, while also covering cinema and video technology.
David Kennedy Ten years ago, David became a freelance dubbing mixer and has mainly worked on broadcast docos
ever since. His greatest achievement has to be making many hundreds of hours of factual entertainment intelligible for the viewing public.
Jon ThorntonJon is an engineer, educator and writer. He has been Head of Sound Technology at The Liverpool Institute for
Performing Arts since its inception in 1996, helping to deliver the next generations of audio professionals. He has written for Resolution since v1.1.
Ed ListerEd is a highly-seasoned freelance broadcast camera operator working with the likes of ITV/BBC,
while also producing high-end content for the web.
George ShillingGeorge is a producer, engineer and musician with a CV including Yazz (The Only Way Is Up), The Soup
Dragons (Im Free), Steve Winwood, Mike Oldfield, James Brown, Frank Turner and Tony Iommi (Black Sabbath).
Phil WardPhil Ward has been editor of both Pro Sound News (PSN) Europe and Music Trade News, and is now
a freelance writer for Lighting & Sound International, AV Magazine, Installation, Pro Audio Asia and Pro Audio Middle East.
Tim OliverTims been a freelance engineer/producer for over 35 years, starting his career in the heady days of
Manchester in the 1980s working with the Stone Roses, Happy Mondays and New Order. Hes had a base at Real World for ten years and for the last three has been involved in the management of the commercial studios.
Erica BasnickiErica stumbled into the world of writing for the pro audio industry after completing her audio
engineering education, and hasnt looked back. She writes extensively about live and studio sound, and has a keen interest in emerging audio applications such as AR/VR and spatial audio.
Nigel Jopson, editorAs a record producer and recording engineer, Nigel worked with artists including Bryan Adams, Bauhaus, Jack Bruce, Paul Carrack, Joe Cocker, Julian Cope, The Cult, Marianne Faithfull, The Go-Betweens, Cyndi Lauper, John Mayall, Joni Mitchell, Van Morrison, The Scorpions and Roger Waters he took up the pen for Resolution magazine in 2002.
/ Review
12/October/November 2017
AEA Nuvo N8 Stereo PairCompact microphones, b
ig ribbons, big sound: Jon Thornton assembles
some classic stereo using the AEA SMS bar and m
ic coupler
AEAs Nuvo range compris
es
two models, both designed
with the intention to bring its
trademark Big Ribbon
Sound to a broader market. Price is a
key factor here of course although
the Nuvo range arent the cheapest of
AEAs offerings, they are certainly the
cheapest active designs in the portfolio.
And compared with rest of the range,
theres a much less retro, and altogether
more compact feel about the industrial
design. The N22 was the first in the
range, and was aimed squarely at home
studios and self-recording artists. Active
circuitry meant that it played nicely with
a wide range of pre-amplifiers, and it
was optimised for close micing of voice
and instruments. This effectively meant
a taming of the typically large proximity
bump, and enhanced protection for the
ribbon element from wind blasts and
the like. The N8 model reviewed
here is a
significantly different beast, and that
difference is more than skin deep. The
most visually obvious difference is the
finish colour a more discreet and TV
friendly black rather than the nickel of
the N22. But the overall form factor is
the same a tall, compact(ish) tubular
design measuring 324mm high and
41mm in diameter at its widest point.
The 1.8 micron ribbon is clearly visible
glinting through a fine nylon mesh
wrapped tightly around a supporting
framework of stacked metal discs. The
ribbon itself is identical in size and
tuning to the ribbon employed in the
companys behemoth R44 but AEA
state that the overall design philosophy
in terms of motor design and
construction is more akin to the AEAs
(passive) R88 stereo microphone.
Thats to say that its really optimised
for far field applications, with the return
of that proximity bump to help maintain
weight to sounds at distance, and not as
much wind protection, leaving the
ribbon as open as possible. Without
access to a R88 to do a direct
comparison, a glance at the published
frequency response specs shows some
differences between the two. The R88s
response really starts falling gently away
from 200Hz onwards, whilst the N8
stays reasonably flat between 500Hz
and 5kHz starting to fall off from that
AEAs Nuvo range
comprises two
models, both designed
/ AEAs Nuvo range comprises two models,
both designed
point but flattening out a little between
about 15kHz and 18kHz. Whether thats
down to the ribbon tuning, or perhaps
to some interplay with the active side of
things. Speaking of which, the J-FET
based amplifier, mated to a custom
German transformer adds up to a
reasonable, if not spectacular sensitivity
of 8.3mV/Pa so preamp choice is less
critical than with the passive R88. But as
I still had access to AEAs own RPQ2, I
chose to use that for the review.
Wordcount = 890 words
Initial impressions with speech are of a
very thick sound at working distances of
about 6 inches way. Get even closer and
the proximity effect is almost
overwhelming, although with a little
filtering would still work nicely in a close
micd application on some
instrumentation. Backing off the mic,
and things start to balance out nicely
from about two feet away. Whats
appealing is the way in which it still
preserves enough HF and transient
detail at this (and further) distance to
not sound at all roomy. A Royer R122
by comparison gives far more emphasis
to the voices mid-range, and sounds
more balanced close up. At a distance,
though, it lacks a little of the immediacy
of the N8s sound.
Comparing a single N8 against the
same R122 on an acoustic guitar, and
the N8 carries a little too much weight
and exaggerated boom to be useful
close up without the addition of a of a
high pass (and the variable HPF on the
RPQ is very useful) the Royer sounds
a lot more balanced here. Giving both
microphones a little more room,
stepped back about 80cm with a pair of
baffles set in the rear pickup, and things
are a little closer to call. Both
microphones sound nicely balanced at
the low end here, and the Royer seems
to emphasise mid frequency harmonics
a little more than the N8. But the Nuvo
sounds that little bit more open and
distinct at the high end most
noticeable on delicately picked playing.
The N8 is also available as a stereo
kit, and this is what was supplied for the
review. In addition to a matched pair of
microphones, you also get a pair
ShockProof clips, a pair of foam
windscreens, a stereo bar and a
collection of associated hardware,
packaged up in a nice IP67 rated hard
case. The supplied clips are an unusual
design with a heavy rubber loop
providing isolation between the clip and
the mount. They are very compact, hold
the microphone firmly, and do a fair job
in supressing handling noise but they
dont look quite as secure as they
actually are! At this point, I have to say
that I dont think Ive ever felt the need
to consult an instruction manual for a
stereo bar before being confronted with
this one but after a few minutes of
head scratching I was just praying that
such a thing existed (and it does,
thankfully). Once you understand what
the various pieces of hardware are for,
its quite straightforward the
complexity lies in the various
permutations it allows. Essentially an
open, U-shaped metal bar (with
supplied foam insert to minimise
resonance), you can attach what are
PROS Natural sound with great reach and
detail in the mid and far field;
flexible (if complex) stereo
mounting hardware; not too fussy
about mic.
CONS Close micing will require an
external HPF. in most cases;
doesnt give quite the same
mid-range grunt close up as some
ribbon alternatives.
CONTACT: AEA, US
www.ribbonmics.com
VERDICT
Review_v10.indd 12
04/12/2017 22:35
Easier to read and clearer design
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Still the most informative magazine in the businessMvW, Netherlands
/ Review
18/October/November 2017
Diego Calvett iChart hits from Tuscany: Ru
ssell Cottier fi nds Platinum
Studio has the X factor - slightly longer for two line
s
X(dont use drop cap *I*s)
In some
studios function follows form, but in
others form and design follow
function. Nestled into the idyllic
landscape of Tuscany, in the medieval town of
San Gimignano, Platinum Studio is a
technological oasis housed in an early 19th
century villa. Every inch of the studio is
designed and built to fi t the specifi c workfl ow
requirements of owner, producer and
composer Diego Calvetti. Producer, composer,
lyricist and conductor Calvetti started the
studio in 1997 having graduated from the
Conservatorio di Firenze in 1995. Calvetti has a
wide variety of credits other than just
production, he has conducted at the Sanremo
Music Festival and even been a vocal coach on
the XFactor in Italy. Calvettis studio started as
little more than a space in his villa with
equipment for recording. In 1998 Calvetti
started collaborating with guitarist, arranger
and engineer Lapo Consortini, and they have
bagged scores of Italian pop hits since.
Word count for 3 pages = 1745
The studio functioned for over a decade, very
successfully, but when Acoustic designer
Donato Masci from Studio Sound Services was
asked to acoustically treat the space Calvetti
and renowned studio designer Donato at
Platinum Studio for an indepth tour.
Diego, how did you get into production?
I grew up in a very musical environment! I
breathed Italian pop music since I was in my
mothers womb. My parents were members of
a pop band in the 70s, my father was the
drummer and my mother the (beautiful) singer.
I studied music from the age of 6, playing piano
and later synths. I started producing and
writing dance music at the age of 18, then in
1999 I made my fi rst single as both writer and
producer. It was an Italian summer hit called
Sandra by 360 Gradi, it all began from there.
Ive been writing for Warner Chapell for 20
years now, but I also work with all the other
major Italian record companies.
Lapo how does your role connect to what
Diego is doing? Im a guitar player and au
thor, I started work
with Diego in 1999 on Sandra, I played the
guitar parts on that song. I work with Diego
throughout all the life of a production, almost
fourhanded, like playing a piano duet. Diego
always had the clear idea of the point that we
should reach and now we have established a
perfect understanding so that Diego can start a
project and I continue and vice versa. He gives
me the focal point of the project, and I go.
Moreover my knowledge in computer science
and electronics (I have a degree in Computer
Science Engineering) helped me to have an
important role in all the technology of the
studio.
How does Italian pop di er form other
genres?Diego I think that Italian
pop music involves
two aspects, the tradition of Italian melody and
the infl uence of Englishlanguage music. In Italy
we listen to a lot of international music and of
/ AEAs Nuvo range comprises two models, both
designed
/ AEAs Nuvo range comprises two models, both
designed
and Consortini had a revelation. Whist the fi rst
installation was benefi cial all three were keen to
take it to the next level, so thats exactly what
they did. Platinum Studio is one of those
studios where nobody wears shoes, the full
length windows invite in the garden and theres
even a pool. The aim seems to be to make the
technical side of making records as easy and
smooth as possible. Resolution was fortunate
enough to catch up with these Italian pop gurus
Craft
Dan
Per
rone
Craft_v09.indd 18
04/12/2017 22:37
Smarter layout